The former is ascribed by Crowe and Cavalcaselle to the early time of
the master himself.[10] Both are, in their rich harmony of colour and
their general conception, entirely Giorgionesque. They reveal the hand
of some at present anonymous Venetian of the second order, standing
midway between the young Giorgione and the young Titian--one who, while
imitating the types and the landscape of these greater contemporaries
of his, replaced their depth and glow by a weaker, a more superficial
prettiness, which yet has its own suave charm.

[Illustration: _Virgin and Child, known as "La Zingarella." Imperial
Gallery, Vienna. From a Photograph by Löwy_.]

The famous _Christ bearing the Cross_ in the Chiesa di S. Rocco at
Venice is first, in his Life of the Castelfranco painter, ascribed by
Vasari to Giorgione, and then in the subsequent Life of Titian given to
that master, but to a period very much too late in his career. The
biographer quaintly adds: "This figure, which many have believed to be
from the hand of Giorgione, is to-day the most revered object in Venice,
and has received more charitable offerings in money than Titian and
Giorgione together ever gained in the whole course of their life." This
too great popularity of the work as a wonder-working picture is perhaps
the cause that it is to-day in a state as unsatisfactory as is the _Man
of Sorrows_ in the adjacent Scuola. The picture which presents "Christ
dragged along by the executioner, with two spectators in the
background," resembles most among Giorgione's authentic creations the
_Christ bearing the Cross_ in the Casa Loschi at Vicenza. The
resemblance is not, however, one of colour and technique, since this
last--one of the earliest of Giorgiones--still recalls Giovanni Bellini,
and perhaps even more strongly Cima; it is one of type and conception.
In both renderings of the divine countenance there is--or it may be the